jornales

for a moment of joy or moments no one pays for, i give myself a ‘jornal’. this makes me rich. try it.

How I tackled Alan Summers’ prompts at NaHaiWriMo last May

Here’s a week of responses to Alan Summers’ prompts at the NaHaiWriMo (National Haiku Writing MOnth, which Michael Dylan Welch created at Facebook three years ago). YES, definitely, a daily challenge to write haiku has cranked up my mind or better yet, like a fit body, oiled it to resiliency. Writing with a group on cyberspace without the politics of bodily presence and its complications of commitments, has also made me fearless about risking my inadequacies–this turned out to be the secret to finding out who I am as a haiku poet as my lines do reveal. But who this is, until now, I can’t put it in a word…perhaps you can! Here then for you to enjoy, I hope.

#05/07/13 (green/gold/gone )

lunar eclipse—
his eyes on her frayed
jeans front

shattered eye what’s left of her mirror

gold leaf saint—
his indifferent stare

#05/06/13 (found as implied)

petal gust–
the street flutist’s
scrambled notes

under her hat…
the missing stubbles

tunnel spigot …the broken loo

fan tail on second thought

pointed fingers his guilt in black nails

#05/05/13 (echo)

weaving
through a cross stitch
of their argument…
her echo

spring echo–
the baby confronts
a Buddha

echo–
he smiles to his own smile
his other smile

#05/04/13 (den)

behind
the den mother’s back…
murmuring cubs

den of iniquity he finds his own sky

reeking of prey the fox’s den

#05/03/13 (curve)

the curve in her thighs wind chart

Lothario–
the river curves
out by rote

curved furrows a worried moon

05/02/13 (blue)

blue dawn…
the rain’s last phrase
on a glass pane

05/01/13 (asperity)

next I look…
the staccato scratching
of his rake

tea rings in my cup the grumbling darkness

on gravel
a day moon’s
sniffle

June 11, 2013 Posted by | haiku, poetry | , , , , , , , , , , , , , , , , , , , , , , , , , , , | 9 Comments

Tanka? Lady Nyo replies to my plea (and tanka from haikuverse to here)

Two reasons why this re-post but more: First, at Red Dragonfly, my friend Melissa Allen’s blog, in her Lucky 13 edition of haikuverse, I read an intense discussion on tanka. I’ve been a tanka-pretender of late because a few of my tanka-ish (because they are in truth free verses) poems have been quite successful. Reading more on it though pulled me in deeper into the mist, into fog/understanding fades/–smoky white thickens. (By the way, if you wish to grow and expand as a haiku poet, follow Red Dragonfly, on my blogroll, especially her flights in the haikuverse.)

Second, I met Lady Nyo in cyberspace, at One Stop Poetry to be exact, through my post the other day, which I’ve pulled out here to include her reply to my plea that she take a look at my tanka. She kindly did and what a lesson I got using my tanka. My ignorance or better yet, bull-headedness, not paying attention to details of what I read about the art–honestly, I often gloss over most discussions and plunge straight into the poems–was bared. Her discussion of tanka through my attempts in this post has waken me up, bolting upright to seriously study it. Arigato gozaimas, Lady Nyo!

Here is my Valentine post of 5 after-the-classical tanka and 3 of my-own-version of modern tanka:

Could these five tanka attempts I wrote after rereading cover to cover Thomas Gurgal’s Japanese Tanka: The Court Poetry of a Golden Age mentioned twice here and Lady Nyo’s almost intimately written background on tanka writing be tanka? Lady Nyo and the tanka book I found at the Vancouver Public Library describe tanka written during the Heian dynasty. It’s the topic today on One Stop Poetry where I’m posting the following tanka. I did imagine myself as a lady of the court, scribbling notes for a lover but still I’m not certain. Could these be tanka?

1.
The roses you sent
I kissed each petal like lips
your vows blossoming–
Were you here I would ask again
Is your love unlike roses?

2.
In my hand your note
takes wings with my heart
I fly to you tonight–
Will the moon you promised
meet me among stars I bring?

3.
We sit under stars
skidding in the hemispheres
you make me wish
I whisper to the willows this:
Bring his wish to the winds

4.
Before I knew you
I wrote a poem on love
now you declare love
I am losing my poem
in my fluttering heart

5.
Will you be sad
you ask me like a songbird
singing to no one
you took my name and my heart
neatly tied in your knapsack

Three tanka–my own–of which I must ask the same question, could this be tanka? My subject is the same, yes, it’s on love but not courtly love. I also followed the structure but just can’t be certain. Would you tell me?

1.
driving into fog
our hearts in our hands–
same hands
scribbling secret codes
our midnight whispers

2.
under frozen skies
oriole songs fill a dome–
divining our dawns
the path our suns travel
distances our longing defy

3.
the full moon stalls
listening to midnight whispers–
skidding stars
spark the skies our eyes
on nothing else but ours

Lady Nyo’s reply to my plea:

I want to clear something up. Tanka isn’t only about love: it’s a vehicle to carry a message about mourning, praise, grief, death (as in Death Poems from Samurai) observations on nature, etc. So we should broaden our attempts at tanka to partake of so many themes.

I think these top 5 are very much in the tanka form. As to spirit? Yes, they are.

However, I do see a difference in the Court tanka, the more immediate tanka in something like the “Man-yoshu”…where the romantic sentiment is a bit more complex. It’s just different and this is hard to explain without a study of it.

But we aren’t Heian court women poets…we are modern women poets, and that ‘sensibility’ is very different I believe now.

The last three are lovely freeverse to me. What is missing here is the syllable count: 5-7-5, etc. If you read the romanji script…the original Japanese tanka, you see, by sounding it out that these tanka follow this form. They don’t necessarily stray from it because it is a discipline and has a purpose.

Tanka is to be read in two breaths. However, the top five very much carry correctly that important Kakekotoba, that pivot or bridge between the top poem (Kami no ku) and the bottom poem (Shimo no ku)

This is what is most hard (well, one of those hard things) in tanka to pull off…the unifying but also the recognition of tanka being actually TWO poems.

It takes a lot of work, process and study to begin to be ‘easy’ in this formation.

But we will get there. This is a good start.

Lady Nyo

We continued our discussion at Lady Nyo’s weblog (click on the blogroll) on the ‘elusive’ spirit of tanka as well as haiku. Next Tuesday at One Stop Poetry, Lady Nyo has promised to discuss the ‘two poems’ in a tanka.

February 17, 2011 Posted by | critique/self-critique, free verse, poetry, tanka | , , , , , , , , , , , , , , , , , , , , | 6 Comments